- published: 01 Nov 2017
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Johann Pachelbel (German: [ˈjoːhan paˈxɛlbɛl]; baptised September 1, 1653 – buried March 9, 1706) was a German composer, organist and teacher who brought the south German organ tradition to its peak. He composed a large body of sacred and secular music, and his contributions to the development of the chorale prelude and fugue have earned him a place among the most important composers of the middle Baroque era.
Pachelbel's music enjoyed enormous popularity during his lifetime; he had many pupils and his music became a model for the composers of south and central Germany. Today, Pachelbel is best known for the Canon in D, as well as the Chaconne in F minor, the Toccata in E minor for organ, and the Hexachordum Apollinis, a set of keyboard variations.
Pachelbel's music was influenced by southern German composers, such as Johann Jakob Froberger and Johann Kaspar Kerll, Italians such as Girolamo Frescobaldi and Alessandro Poglietti, French composers, and the composers of the Nuremberg tradition. He preferred a lucid, uncomplicated contrapuntal style that emphasized melodic and harmonic clarity. His music is less virtuosic and less adventurous harmonically than that of Dieterich Buxtehude, although, like Buxtehude, Pachelbel experimented with different ensembles and instrumental combinations in his chamber music and, most importantly, his vocal music, much of which features exceptionally rich instrumentation. Pachelbel explored many variation forms and associated techniques, which manifest themselves in various diverse pieces, from sacred concertos to harpsichord suites.
"Nun komm, der Heiden Heiland" (original: "Nu kom der Heyden heyland", English: "Now come, Saviour of the heathens") is a Lutheran chorale of 1524 with words written by Martin Luther, based on Veni redemptor gentium by Ambrose. It was printed in the Erfurt Enchiridion of 1524. The chorale was used as the prominent hymn for the first Sunday of Advent for centuries. It was used widely in organ settings by Protestant baroque composers. It is now best known as the basis for Johann Sebastian Bach's chorale cantata Nun komm, der Heiden Heiland, BWV 62 (1724) and the opening movement of his earlier cantata Nun komm, der Heiden Heiland, BWV 61 (1714).
This chorale continues in modern usage, both in liturgically oriented Christian hymnals (for example, the Lutheran Book of Worship) and as the cantus firmus for organ compositions. In Brian Easdale's score for the 1948 film The Red Shoes, the melody from the chorale is heard as a theme late in the ballet, punctuated by ringing bells, brass instruments and a grand piano.
Nun komm, der Heiden Heiland (Now come, Savior of the heathens),BWV 62, is a church cantata by Johann Sebastian Bach. He composed the chorale cantata, based on Martin Luther's hymn "Nun komm, der Heiden Heiland", in Leipzig for the first Sunday in Advent and first performed it on 3 December 1724.
Bach wrote the cantata in 1724, his second year in Leipzig, for the First Sunday of Advent. The prescribed readings for the Sunday were from the Epistle to the Romans, night is advanced, day will come (Romans 13:11–14), and from the Gospel of Matthew, the Entry into Jerusalem (Matthew 21:1–9). The cantata is based on Martin Luther's chorale in eight stanzas "Nun komm, der Heiden Heiland", the number one hymn to begin the Liturgical year in all Lutheran hymnals. The unknown poet kept the first and last stanza, paraphrased stanzas 2 and 3 to an aria, stanzas 4 and 5 to a recitative, the remaining stanzas to an aria and a duet recitative.
Bach first performed the cantata on 3 December 1724, and he performed it again in 1736, adding a part for violone in all movements, after the Thomasschule had bought an instrument at an auction in 1735. Bach's successor Johann Friedrich Doles performed the cantata after Bach's death.
Nun komm, der Heiden Heiland is a chorale text adapted by Martin Luther from the second verse of Veni redemptor gentium; the corresponding Gregorian chant dates from the 12th century.
Nun komm, der Heiden Heiland discusses the chorale itself.
Nun komm, der Heiden Heiland is the incipit of two cantatas by Johann Sebastian Bach:
It is also the title of three chorale preludes by J. S. Bach, from the Great Eighteen Chorale Preludes or Leipzig Preludes:
It is also the first choral prelude, BWV 599, in J. S. Bach's Orgelbüchlein.
Score available here: partitura.org/index.php/johann-pachelbel-nun-komm-der-heiden-heiland/ A prelude by Pachelbel in the same style as employed by Johann Michael Bach in the prelude I uploaded recently. Although there are differences: the melody doubling in the tenor voice is absent in Pachelbel's prelude, and Pachelbel writes a longer introductory fugue. Nevertheless, I think it's understandable that works by Bach are sometimes attributed to Pachelbel and vice versa. The recording was done on the sample set of the Silbermann organ of the Stadtkirche Zöblitz by Prospectum.
Johann Pachebel - barokowy kompozytor niemiecki, znany głównie ze słynnego Kanonu D-dur. Był przedstawicielem stylu południowoniemieckiego. Działał w różnych ośrodkach na południu Niemiec i w Austrii (Norymberga, Ratyzbona, Wiedeń, Erfurt). Ostatnie lata życia spędził w Norymberdze. Działał głównie jako organista, był także w różnych miejscach muzykiem dworskim. Prezentowane preludium na temat adwentowej pieśni "Nun komm der Heiden Heiland" (Przybądź już, Zbawco pogan) jest typowe dla stylu muzyki organowej Pachelbela. W pierwszej części kompozytor konstruuje fugę na temat wzięty z początku pieśni, w drugim segmencie temat pieśni ukazany jest w całości w basie, w pedale. Nad tematem rozwija się bogata figuracja. Muzyka Pachelbela cechuje się jasnością, prostym kontrapunktem, brak jest rac...
Edward Taylor plays the Advent Chorale 'Now come, saviour of the gentiles' by J. Pachelbel on the Willis organ of Carlisle Cathedral. This offering forms part of an Advent Musical Calendar.
Johann Pachelbel (1653-1706): Chorale Fugue and Fantasia, "Nun komm der Heiden Heiland" (Come Now, Gentile Savior) Performance: Antoine Bouchard on the album "Pachelbel: The Complete Organ Works"
Nun komm, der Heiden Heiland, Johann Pachelbel (1653-1706) Organist: Johan Hermans, Hasselt (BE) Orgel: A. Clerinx (ca 1860)/ F. Nijs (2003) II/P-23 Virga Jessebasiliek, Hasselt (BE) Opnamedatum: 04-12-2020
Nils-Ole Krafft spielt an der Böttner-Orgel (41/III) der Frankenberger Liebfrauenkirche Johann Pachelbels Choralvorspiel über "Nun komm, der Heiden Heiland". Verwendete Mikrofone: Neumann KM 183 Näheres zur Orgel: https://organindex.de/index.php?title=Frankenberg_(Eder),_Liebfrauenkirche_(Hauptorgel%29
Johann Pachelbel , Nun Komm der Heiden Heiland , Aldo Locatelli , organ , Church S.Lorenzo - Mandello
Hermann Koop Amanduskirche Aschendorf
Provided to YouTube by Warner Classics International Pachelbel : Chorale Prelude, 'Nun komm der Heiden Heiland' · Herbert Tachezi Baroque Organ Music Vol.1 ℗ 1968 Teldec Classics International GMBH Organ: Herbert Tachezi Composer: Johann Pachelbel (1653-1706) Auto-generated by YouTube.
Johann Pachelbel (baptised 1 September 1653 – buried 9 March 1706; also Bachelbel) was a German composer, organist, and teacher who brought the south German organ schools to their peak. Performer: Simone Stella. Painting: Rembrandt - The Return Of Son.
Johann Pachelbel (German: [ˈjoːhan paˈxɛlbɛl]; baptised September 1, 1653 – buried March 9, 1706) was a German composer, organist and teacher who brought the south German organ tradition to its peak. He composed a large body of sacred and secular music, and his contributions to the development of the chorale prelude and fugue have earned him a place among the most important composers of the middle Baroque era.
Pachelbel's music enjoyed enormous popularity during his lifetime; he had many pupils and his music became a model for the composers of south and central Germany. Today, Pachelbel is best known for the Canon in D, as well as the Chaconne in F minor, the Toccata in E minor for organ, and the Hexachordum Apollinis, a set of keyboard variations.
Pachelbel's music was influenced by southern German composers, such as Johann Jakob Froberger and Johann Kaspar Kerll, Italians such as Girolamo Frescobaldi and Alessandro Poglietti, French composers, and the composers of the Nuremberg tradition. He preferred a lucid, uncomplicated contrapuntal style that emphasized melodic and harmonic clarity. His music is less virtuosic and less adventurous harmonically than that of Dieterich Buxtehude, although, like Buxtehude, Pachelbel experimented with different ensembles and instrumental combinations in his chamber music and, most importantly, his vocal music, much of which features exceptionally rich instrumentation. Pachelbel explored many variation forms and associated techniques, which manifest themselves in various diverse pieces, from sacred concertos to harpsichord suites.